CHATHAM – Monomoy Theatre has a winner in its last show of the season, Kaufman and Hart’s venerable 1930s madcap comedy “The Man Who Came to Dinner,” a cousin to their more famous and oft-produced collaboration “You Can’t Take It With You.”

The man of the title is Sheridan Whiteside, a flamboyant intellectual celebrity who has been forced to recuperate in the home of “just plain folks” in Mesalia, Ohio. He brings to this staid household fame, notoriety, chaos and conspiracy, which build to a fever pitch by Act 3 (yes, this is a three-act play with two intermissions).

The first act is relatively calm, dominated by Whiteside (played by Monomoy’s artistic director Alan Rust). He archly declares acerbic exposition until all the plot lines are exposed. Director Terry Layman, aided by strong performances by those playing all of the household members and local characters, does a good job laying the groundwork, but it is the acting energy of Alycia Kunkle as Whiteside’s secretary Margaret Cutler that adds the energy needed to get us to Act 2.

From that point we meet a series of zany characters and a succession of larger and weirder props until all is improbably resolved in Act 3. When flamboyant actress Lorraine Sheldon arrives, played with ferocious dramatic energy by Sarah Killough, things really start to hum. Killough has great physicality, and when her character is provoked or excited, she has a decibel range that could rattle the glass at Chatham Light. Abraham Adams, as Beverly (the Cole Porter sendup, who sings a song Porter actually wrote for the play), is also superb, particularly in his mocking impersonation of the important but never seen character of Lord Bottomly. But the zaniest of all is Stephen Mir, as the Groucho/Chico/Harpo Marx sendup named Banjo. His performance is a tour de force of physical comedy, owing more than a nod-of-the-head to the quirky character Kramer from the TV series “Seinfeld.”

The set, a wonderful house interior in Ohio in the early part of the 20th century, is exquisitely detailed. Andrew Sierszyn is credited with this wonderful design, and since there is no prop design attribution, we can assume he is also responsible for the stage properties. These objects run the gamut from highly amusing to totally amazing. The dozens of beautiful period costumes designed by Delta Childers-Smith, the unobtrusive but highly effective lighting by Zach Weeks, and the occasional jazz-age music provided by sound designer Garrett Hood combine to create a wonderful period background for this production.

Modern audiences and the ghosts of Messrs. Hart and Kaufman could perhaps agree that Monomoy Theatre has proven that this bit of theatrical Americana is alive and well in the summer of 2014.

Summer 2014 also marks the end of the 57-year involvement of Ohio University with the Monomoy Theatre. Happily, according to artistic director Rust, The University of Hartford (which has been partnering with Ohio University), has announced that they will take over operating the theater next year. The Monomoy Theatre will open for its 58th season with “Damn Yankees,” announced before the curtain rose on “The Man Who Came to Dinner.”

Generations of Ohio University students have shared their talents and honed their skills in Chatham. It is excellent news that other students will continue to have this opportunity, and the Cape community will continue to enjoy first-rate summer theater at this venerable venue.